Word: ghosts
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Dates: during 1980-1989
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...most moving sections of the book, Gitlin compares the disillusionment, hopelessness and general atomization of many former activists in the Seventies with the Ghost Dance of the defeated Sioux in the 1890s, who believed that if they practiced a particular ritual purification and circle dance, the spirits would intervene and drive away the otherwise all-powerful white conquerors. Hence, Gitlin argues, the encounter culture of the Seventies, when many old radicals drifted unhappily from guru and method to method, seeking the lost solidarity and exhilarating sense of purpose of their Movement days...
...Sixties' failures, limits, disasters, America's political and cultural space would probably not have opened up as much as it did without the movement's divine delirium." Gitlin's greatest achievement in this monumental book, perhaps, is that he is able to avoid the elegiac fatalism of the Ghost Dance in his analysis of the complex impact that this seemingly most self-contained, all or nothing of decades has had on contemporary society...
...counterbalance, the composer tapped the veteran director Hal Prince, 59, who * had contributed so much to the success of Evita. Lloyd Webber composed the role of Christine with his wife Sarah Brightman's crystalline voice and fragile Pre-Raphaelite looks in mind. The trick was casting the Opera Ghost. His choice was British Actor Michael Crawford, 45, whom he had heard sing in the 1979 London show Flowers for Algernon and who had appeared in such films as A Funny Thing Happened on the Way to the Forum and The Jokers. "The moment I saw him with Sarah at dinner...
...Julie L. Belcove '89 Martha A. Bridegam '89 Jessica A. Dorman '88 Jonathan M. Moses '88 Melanie R. Williams '91 Features Editors: Andrea E. Monfried '88 Shari Rudavsky '88 (legal!) Sports Editor: Mark T. Brazaitis '89 Photo Editor: Steven Findley '91 Business Editor: Willa Berghuis '88 Copy Editor: The Ghost In The Machine
...rueful exchanges among the shades of characters already dead. In the climax, a young woman who has died in childbirth revisits earth on the day of her twelfth birthday, only to find that her mother cannot "see" her. That is, not only is the mother unable to envision the ghost of her daughter's future self but, for all her maternal devotion, she is so caught up in minutiae that she fails to pay meaningful attention to the actual girl who stands yearning for it. That moment underlines why Wilder chose his austere narrative form. It too demands that people...